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JSTOR helps people discover, use, and build upon a wide range of content through a powerful research and teaching platform, and preserves this content for future generations. JSTOR is part of ITHAKA, a not-for-profit organization that also includes Ithaka S+R and Portico. For more information about JSTOR, please contact firstname.lastname@example.org. i^ THE ILLUSTRATIONS OF THE QUARTER. By Perriton Maxwell. A cloistered philosopher — no less a man for his monkish garb — who studied that delicate mechanism the human heart, and drank soul -deep from the well of wisdom, once put in verbal form the hitherto unexpressed conviction, that to remain \&A as &°°d as we are, we must ever strive to become better than we are. To no set or circle of the world's refined workers need the terse theorem be more frequently pointed out for thoughtful observance, than to the well-trained picturists of our periodic literature. It will be readily granted by every attentive follower of letters, that the many men and few women who make a business of embodying pictorially the creations and realities dealt with by the mental artist are too often prone to stray from the full meaning of the latter's text. Our best illustrators are open to this charge ; our worst ones are perforce painstaking in this regard — their interpreta- tions, coarse or careless in an art way, making for absolute and sometimes servile adherence to the printed lines. The painter of Simon Pure stripe may revel in the luxury of his own ideas and ideals, may pet and fondle his own peculiar point of view, may interpret nature and history to the bent of his own sweet will, fancy, and caprice ; but even a genius in the field of illustration must harness his art to Drawn by A. Brevnan. From Life- "the lion and the lamb." Drawn by J. II. Sharp. From Harper s Weekly. Copyright. INDIAN DANCE." 58 The Quarterly Illustrator the vehicle of the writer. The magazine article and the magazine illustration are a pretty pan- when well mated, well groomed, and of an equal high-bred class, but they are inevitably a tandem team, and the author is always the fore steed ; it does happen at times, however, that the " wheeler " carries the load. It should not be forgotten, that no matter how individual or imaginative the style of a monochromatist, it is always the province of his craft to explain with brush and p e n - p o i n t the meaning of the types among Drawn by W. Lewis Sonntag^ Jr. From Once A Week. "return from the race." Drawn by Otto Toaspern. " SHOPPING.' From Life. which his pictures are destined to blossom in their reproduced form. The first aim of the illustrator should be to illustrate. Detractors of the black-and-white art have denounced it, off hand, as a superfluity. Absurd denuncia- tion. Contrariwise it has become a necessary and important adjunct to the best literature of our time. More than this, it is the bread, cheese, and beer of art. Its beauty is of the substantial order, and its rewards are of a piece with its grace. Glimpsing the foremost illustrated maga- zines put out of press within the quarter-year gone by, the characteristic that forces itself upon one and clings to memory is the cosmopolitan flavor of their pictured pages. Foreign artists figure with great prominence among the illus- trators of the leading Amer- ican magazines all through the numbers of the past year. But why, the draw- ings from abroad have not themselves explained. From the w hole mass of alien work no single sketch stands out with the mark of genius. d Drawn by E. IV. Doming. Froj/i O it ting. " SIOUX CHILDREN.' The Quarterly Illustrator 59 First came Harpers with a strong attachment for English art in black and white ; then an affection was displayed by the Century for the illustrative work of certain Frenchmen, Ital- ians, and Russians. Later the Cosmopolitan (true in this instance to its name) and Scrib- ner's — gaining artistic strength with each suc- cessive moon — have gone to Parisian ateliers for a deal of their monochromatic material. It may be that the gentle public demands exotic art in its periodicals as it demands it in the exhibitions. Be it so, native illustrators need Drawn by C. li. Grant. F?-om The New York Ledi. u AN ANXIOUS MOMENT." embellish the leaves of Ameri- can literature does not in any sense indicate that our own il- lustrators have fallen in the pit of oblivion. Indeed, no per- ceptible diminishment of their industry or ideafulness has come of the invasion. From here and there, with a thought mainly to eclecticism of subject and treatment, a sheaf of monochrome drawings from various journals has been gar- nered, and is strewn before the reader of these pages. Of the snappy sketch by Alfred Bren- nan — a ponderous, ruminative old lion, strangely tolerant of Drawn by C. Mente. From Once A Week. " THE MAHARAJAH OF KAI'URTH ALA. 1 ' have small fear of foreign com- petition. The greatest pictures in black and white have been made in American studios, and the future prospect is aglow with promise. That foreign illustra- tors have been called upon to Draw >, by T. V. Chsminsky. U IN the music room," From Life. 6o The Quarterly Illustrator firom Once A Week. "NEGRO CAM I* MEETING IN IHTCHESS CO.. N. Y. the presence of a meek and frail- bodied lamb — little can be said ex- cept in praise. It has all the qualities that make this artist's pen-work unique and ever pleasing. A pictorial echo of the Ameri- can desert and the serious play of its nomadic chil- dren is excel- 1 e n 1 1 y por- trayed by J. H. Sharp in his drawing of a ceremonious dance of Indi- ans. Study this picture closely and you will hear the guttural ejacu- Dmn^ d y lations of these Et/iel Isadora Brown. From u/e. stern-face d "RlRAl. ENTERPRISE." Wild-meil, Qlld Drawn by De Cost Smith "THE SKH'X TANNER From Outing. The Quarterly Illustrator 61 the heaving breathing of the youthful squaws. The slow, measured patter of bare and moccasined feet, the dull plund, pluncl of the snake-skin tom-tom further off, the intense earnestness of the dancers — all is either pictured by the illustrator of this scene, or knowingly suggested by his neat but not too laborious drawing. It is as good a thing as has been printed in Harper's Weekly during a trio of months. Coming to the van of our black-and- white elucidators of contemporary life is W. Lewis Sonntag, Jr. His is an easy style, brimming with suggestive coloring, and strong in its presentation of essen- Drawn by S. IV. Van Schaick. Fro 7ii Life. 'THE HONEYMOON'. tials. Mr. S onntag has the knack of ceasing work at the proper place. Having given you a true idea of place or person he leaves you to scrape ac- quaintance with his drawing, and you are flattered by this acknowledgment of your discernment and imagination. An admir- able quality of this artist's work is its From a painting by H. G. Plumb. From Demorest's. * IN DURANCE VILE. straightforward simplicity. His sub- jects are clearly drawn ; his method clean cut and free. Otto Toaspern has studied well the attitude of his two women who step from the cross-walk to the curb. A woman bends herself considerably when mounting a step or stairway, and Mr. Toaspern has caught the precise action in his little study from Life. E. W. Deming gives us in his picture from Outing a brief but comprehensive glimpse of quiet life in an Indian encampment. The children and the dogs are the most entertaining Drawn by Frank H. Schell. From Frank Leslies' . "the vigilant." 62 The Quarterly Illustrator SlwSr? Drawn by S. Crosby. " BREAKING IT GENTLY. 3 From Puck. Drawn by Jay Hambridge. From McClure's Magazine. " A COSTER GIRL." features of a tepee village, and the artist, recogniz- ing this fact, has rightly placed his youthful braves and their canine companion in the foreground of his sketch. The work of Charles Mente is often - seen in the pages of Once a Week, and its character is a sort of pictorial re- porting. Doubtless he is a rapid work- man. In any event, his is a nervous man- ner wedded to a fac- ulty for centering one's interest in the main facts of a scene — certainly the first desideratum of a good illustration. In the death of C, R. Grant a conscientious contributor to the New York Ledger and other illus trated papers has been lost. Weak at times in a technical way, Mr. Grant never failed to give the real point of an episode or adventure in his black-and-white ac- companiments. Far above the ordinary are the drawings of T. V. Chominski. Life has absorbed the best of this artist's work. It is a broad, intelligent species of illustration that Mr. Chominski puts forth, and it is of the kind that holds no. hint of imitation. In soft gray tones M. Colin takes us under the slender branches of a young forest and into the very midst of a darky camp-meeting. The scene is a real one, and has a delightful open-air feeling in it. Mr. Colin is a versatile contributor to Once a AVeek, in which periodical his best work has appeared. Ethel Isadore Brown has a delicate touch, well indicated in her sketch here given from Life. De Cost Smith has made a faithful study of the fast-dying life of the plains, especially the life of our abori- gines. His drawing from Outing is breezy and broadly executed. As in all his work, the sketch by S. W. Van Schaick of Life, reproduced with this, gives one Drazun by Hermann Simon. From Outing. "SMASHING THROUGH THE BRUSH." The Quarterly Illustrator the impression that it was made in the teeth of a gale— so full of vigor and go is his style. F. H. Schell, J. Hambridge, and S. Crosby have ways widely divergent, but equally interesting. A sug- gestion of instantaneous photography is called to mind in viewing Hermann Simon's cleanly made drawing of a jumping deer. A lively picture most truly, this one. E. M. Ashe, careful, discerning and gay ; Joseph P. Birren, a bit stiff but forceful ; F. T. Richards, amusing in his theme and clever in his method— are three illustrators whose Life work has commended itself for reproduction here. A touch of effeminacy is in the production of Albert 63 Drawn by E. M. Ashe. "THE CONSULTATION." masterpiece of artistic force and sug- gested color. C. J. Taylor has executed better drawings than the example given with the types of this page, but the extreme economy of line with which he has shadowed upon white paper a table scene with five per- sons and a Delft plaque is worth a half hour's study. Suave and simple is the drawing by H. B. Wechsler, whose brush portrayals ap- pear with pleasing frequency in Life. Non-essential details do not cumber the Drawn by Joseph P. Birren. From Outing. " AT THE FOOT-BALI. GAME." Scott Cox, but the action of his figures is excellent. A painter- like, substantial quality fills the monochrone by Parker New- ton. His picture is a cameo V Drawn by Grace Hudson. From Overland. 'THE LEGGIN GIRL. Drawn by Albert Scott Cox. F?-om Once A Week. "THE COUNTRY COUSIN INTERCEPTED." 6 4 The Quarterly Illustrator pictures of this illustrator. His women are refined, but not prudish ; his men are sensible fellows, whose clothes fit as well upon their persons as their dia- I ->/£«§! logues become their surroundings. The | truth of it is that Mr. Wechsler under- stands this business of reflecting flesh- Drawn by Parker Newton. From Once A Week. "DESTROYING A DERELICT."' a nd - b 1 o o d people amid their actual environment. Thus has- tily surveyed, the illustrations of the vanished quarter are neither the least nor the greatest of the year, but have in them enough of the entertaining and artistically merito- rious to warrant Drawn by A T. Richards. From Life. "he took her side." study and chal- lenge opinion. T h e essence of successful mono- chrome picture- men t is not in the illustrator's mannerisms nor his ready com- prehension of reproductive values, but in the fitness of the picture to the text. The artist with gifts of his own who can most fully appreciate this fact, must needs rise to the pinnacle of his profession. Outlooking upon the stirring sea of con- temporary illustration, the view is an en- gaging one at the moment. There is a Drawn by H B. Wechsler. "TRIALS OF AN AMERICAN HEIRESS. 1 Drawn by C. J. i ay lor. " OBTRUSIVE." healthy strife for supremacy among the smaller and newer craft which sail month after month before our vision, and with the older, stancher vessel- there is a closer trimming of sails and a keener zest in the race for the stake-boat of popu- larity. AVe who watch the contest from the shore can at least wave a welcome to each newcomer and cheer along the old, familiar From Life racers in their accustomed course. The Quarterly Illustrator 65 L. THEO. DUBE. FRANK O. SMALL. • 1 i L^S JIW: tar 4 ,F'i:ifflftflHI\fl •% • WV"1 | ir— ^ P ; r f: 1 Hi \. ' P^T'Sl ; j ! P^^Jk M j -■ L l- *^«i, K A £^-^tt ,nH| "^ JPP ' V'sEni ^ \ ■ K ELLIOTT DAINGERFIELD. WORDSWORTH THOMPSON. DAX BEARD. CHARLES C. CURRAN. 66 The Quarterly Illustrator ^jf? % tfgBJjfr $0 '"^■r DMAS n. CRAIG. HUGHSON IIAWLEY. R. F. ZOGI1AUM. *■ REGINALD B. BIRCH. BENJ. LANDER. H. G, PLUMB. FRANCIS WHEATON. CHARLOTTE WHITMOKE. JOSEPH LAUBER. The Quarterly Illustrator 6 7 m i ;^^. 1 1 LOUIS H. HOLM AN. HUGH M. EATON". \VM. A. COFFIN, W. P. BODFISH. FREDERIC REMINGTON. AMY L. KELLOGG. LEE WOODWARD ZEIGLER. 68 The Quarterly Illustrator J. H. HATFIELD. CHARLES J. BUDD. E. T.. DURAND. STANLEY MIDDLE') ON. ARCHIE GUNN. MALCOLM FKASER. pi 1 & 8& / ffjfmcf', ; 4% LEONARD OCHTMAN. JOSEPH H. BOSTON. CULMER BARNES.